Review by Dominik on December 15, 2025.

I suppose I've given this record enough room to breathe, and that breathing has not changed my opinion in any noticeable way. Anyone remotely into black metal hardly needs an introduction to Sargeist at this point. Since "Let The Devil In", my view of this pitch-black Finnish unit can be reduced to two fairly simple conclusions. First, Sargeist clearly does not suffer from any form of release ADHS. They take their time, they don't flood the market, no panic-output or quarterly sacrifices to some eerie algorithms. They still seem to believe that quality matters more than quantity (we shall, out of politeness and self-preservation, quietly pull a plastic bag over "Feeding The Crawling Shadows"). Second, while the band continues to impress on a consistently high level, it very rarely surprises. You buy Sargeist and you get Sargeist. No more, no less. Also on "Flame Within Flame" evolution is absent, but given the usual strength of their material, that is hardly a major sin. Still, I can't help but think that a single genuinely unexpected turn could have elevated this album even further. That said, there is one moment that comes close, but more on that later.

As with previous releases, my approach with the band was largely the same. First, assessing the production, which here is exactly what black metal should sound like: powerful and direct, with enough clarity to keep the instruments separated, yet never so polished that it loses its teeth and avoids turning into some uncomprehensible rehearsal soup. After that, my familiar and slightly masochistic quest continued: to find a successor to "Sanguine Rituals", which is still, for me, the finest song Sargeist have ever written. On "Flame Within Flame", two tracks come frustratingly close. They do not surpass it, but they certainly remind me why my search continues in the first place.

For the most part, Sargeist is operating at peak form. The album is Finnish to the marrow, deeply rooted in aggression, yet always counterbalanced by those characteristic melodies that soften the edges without dulling the blade. The band has nearly perfected the instinct of knowing when to strike and when to fall back, which they do with the confidence of people who stopped doubting themselves years ago. The album feels bleak and solemn, at times almost melancholic, and exudes a kind of nihilistic energy that perfectly expresses Finnish black metal tradition. And it does that without becoming theatrical or limp.

In terms of change, two aspects stand out. The most obvious is Shatraug taking over the lead vocal duties. This is neither an improvement nor a step down, and after a five-year silence, most listeners will likely struggle to notice the difference unless they are actively looking for it. The second is "Juravit Sanguine", the album's mild act of rebellion, the one song that dares to move at a different pace. It is slower, more deliberate and shows up with a very strong section leading to the chorus. And this is this little nugget of unexpectedness which immediately elevates the song. This small deviation alone lifts the track above being merely solid, proving that even restrained experimentation can go a long way. Sometimes all a song needs is to walk instead of sprint.

Talking about spectacular, there is no way bypassing the two shining pillars of the album. The title track is the first. It opens with a nearly timid guitar line, then promptly erupts into blasting frenzy. Guitars, vocals and relentless drumming drive the song forward without ever losing control. It is the vocal pitch and trace of melody which create an atmosphere of immediacy and desperation. It feels urgent and emotionally charged, like something is fundamentally wrong and time is running out. Just great. That it follows the opener (also the album's weakest moment) is clever sequencing. The placement only enhances its impact, though it does unfortunately end too soon, much like happiness or affordable rent.

The second pillar and arguably strongest moment arrives with the closer, "Rite Of Ascension". This track comes dangerously close to black metal perfection, and I was about to abandon my quest. The recurring riff sections around the one- and three-minute marks encapsulate everything the genre does right: urgent, imploring and borderline triumphant in the most miserable sense possible are the melodies which are driving the song toward its climactic moments. Amid all the blasting, the bass plays an unusually active role, adding further momentum to the track's progression. The only real complaint is the somewhat overzealous reliance on Satanic clichés with Shatraug screaming "Satan" a few times too many. Still, that's nitpicking and constitutes a minor flaw. We talk about the fly in the ointment, not a corpse in the soup.

Nothing on "Flame Within Flame" falls by the wayside. Ultimately, the release is a thoroughly coherent album, dominated by cold rage and executed by a band that long ago stopped questioning their artistic direction. Anyone with an interest in black metal will find immediate access to this record and likely feel at home. Especially if your idea of home is a dimly lit dark crypt full of resentment and Finnish riffs. My rating shouldn't come as no surprise at all.

Rating: 8.6 out of 10, because Sargeist once again delivered exactly what they promised, exactly how you wanted it. All of that without surprising you, disappointing you, or pretending that evolution is more important than dominance.

Review by Fernando on May 31, 2025.

It’s that time again, wherein I cover a Finnish black metal band, but not just any Finnish band. After a very protracted time gap filled with silence, a massive lineup change and a slow but sure return to the stages, Sargeist have returned with their newest opus, Flame Within Flame, released through World Terror Committee.

Sargeist really needs no introduction, they’re not just one of the Big 4 of Finnish black metal –alongside Horna, Behexen and Satanic Warmaster– but they’re also the golden standard of 21st century black metal, and the band that has been copied the most in terms of sound. But besides that, the biggest change in Sargeist since their preceding record in 2018 is the lineup change; as the quintet is now a quartet, the band’s mastermind and primary creative force; Shatraug for the first time since the band’s formation, has retaken lead vocal duties, and is now joined by his Horna compatriot Spellgoth on bass, Spaniard drummer extraordinaire Nur-i-Siyah, and devoted American black metal shredder VJS, who remains with the band still since 2014.

With such a significant change, does this mean the band is entering a shift or will the new lineup continue in the tradition of the most foul Satanic arts? The answer is a bit of both. Musically the band still play to their strengths, highly aggressive and raw, with funereal melodies and with a heavy Finnrock grounding. The most significant change is, of course, Shatraug on vocals. Sargeist throughout its quarter century existence has had not necessarily distinct eras, but certainly periods marked by who lends his vocals in the name of Satan, most people are familiar with Behexen frontman Hoath Torog’s tenure and providing his distinctly hateful shrieks for the longest time, who was then followed by underground stalwart Hellwind Inferion aka Profundus, who despite his short tenure for 1 album and 2 side releases still was able to leave his mark on the band with a style of vocals that was less hateful but more ritualistic and no less impactful, so how does Shatraug perform?

The answer is as good as his predecessors while keeping a distinct identity. Shatraug’s vocal style can be described as morose and wretched, in a good way, and it perfectly matches the music’s overall atmosphere and tone, the overall presentation is similar to Profundus in the sense that the vocals are meant to be a sinister presence to the music, and since Shatraug’s vocals are much more weathered and dejected (again, in a good way), the picture the album paints is of a rotting corpse delivering unholy sermons to great effect.

In regards to the actual music, the vocal change is perfectly complemented by it, while the band stay true to themselves, this particular album’s atmosphere is definitely much more somber and dare I say? Depressive? Actually that’s a strong word, and Sargeist has always had a sorrowful bent in their more melodic moments, but this record definitely feels more sorrowful than the one before, and in a strange way, the record seems to hearken back to the band’s earliest days, while maintaining the sense of refinement and proficiency they’ve accumulated through the decades and various lineups, so it feels very appropriate that the new lineup embodies a rebirth in order to proceed to its next period.

And to finish (ha) off, I do want to highlight the line’s up individual strengths, particularly the new blood; particularly how Spellgoth excels as a bassist, he is of course a man of many talents, as a frontman, as a guitarist and as a musician in general, and his bass lines on this record are a major highlight and welcomed surprise, Nur-i-Siyah is also a worthy addition and he of course delivers, as befit the talent of an internationally renowned drummer. And of course, I cannot end this without praising both Shatraug and VJS as guitarists, both are seasoned veterans, but in this record, their guitar interplay has been completely perfected, they definitely feel like the black metal equivalent of prime Iron Maiden dueling guitars.

All in all, Sargeist continue their streak of consistently great black metal and with a renewed sense of vitality after a large break and a lineup change.

Rating: 9 out of 10

Review by Felix on May 31, 2025.

No stage-setting intro, no explosive start, no immediate “wow” effect: Flame Within Flame begins almost unspectacular with a more or less defensive guitar line. Sargeist are back and even though I do not think that they are the most influential band from Finland – the promo, of course, sees this differently – they are a massive factor in terms of black metal and one of the most stable pillars of their country’s rich scene. Their line-up is less stable, but don’t worry, the stylistic direction has not changed. Sargeist still stand for pure, wild, and yet fairly melodic black metal.

As I said, the first tones appear a bit faceless to me. This is disappointing, but great at the same time, because it remains the only thing I have to criticise. In a few sections, Sargeist could have been ten percent more rigorous in order to show the ferocious side of the genre constantly. There are not many, but a handful of comparatively melodic sections which are interchangeable and do not exceed the quality level of second tier bands from Suomi like Mortuary’s Shadow or Rienaus. However, the opener is no downer, by far not – its biggest problem are the songs that follow, for example, the title track, whose fascinating flames blaze towering high. Extreme velocity and guitars which combine morbid, tragic, belligerent and uttermost bitter facets create a monster whose name rightly stands for the album. Tracks like this one catapult Sargeist at the top of the Finnish movement, where they meet Behexen, Malum and a few further bands. 'Juravit Sanguine' strikes the same chord. Arranged with an almost horrifying depth, its verses lead to a simple and minimalist yet extremely great chorus, the best section of the entire full-length. The strict guitar lines, the guttural vocals and the driving drums reflect the attitude of a band that has passed the point of no return years ago. This alone is a good reason to worship this band (without becoming an uncritical fool, of course).

Flame Within Flame scores with a dense, almost opaque yet never filthy or even amateurish production. The guitars weave a dense web that barely lets any light fall on the quartet's art. While doing so, they support the strong musical content with an adequate, numinous atmosphere. This aura prepares the ground for sinister melody lines like those in 'To The Mistress Of Blackest Magic'. They come out of nothing before they are blown away by the next outbreak of grim hate and raging dedication. Songs like this one mirror the entire uniqueness of the Finnish black metal scene within 4,5 minutes; but the same could be said about the death-dealing, completely unleashed 'Rite Of Ascencion' which unexpectedly competes with the fantastic 'As Darkness Tears The World Apart' for the best Sargeist closer of all time. You see, Flame Within Flame is not short on impressive monuments – and great monuments cast long shadows that create cold and dark areas. No doubt, this album is one of them.

After five or six intensive listening sessions, I can say that the album has grown on me. I have realized the surprisingly high charisma of the vocals – despite the consequently raw approach, mastermind Shatraug is able to convey different moods and emotions. I have also found access to each and every song and all of them have a lot to offer. The expressive song titles do not promise too much. So enjoy the 'Incandescence Of The Funeral Pyre' and 'Behold Our Temples Arise' – wherever you begin to discover the 40 minutes, you can be sure of having found a good starting point. Only people who are waiting for the experimental, previously unknown side of Sargeist will not fall in love with this full-length. But I don’t think that these poor creatures have understood the mission of the band. Sargeist carry the torch of the devilish genre in the Finnish night and, together with other leaders, show the next generations of black metal musicians the way. Doubtlessly, that is more important, more praiseworthy and more meaningful than any kind of bullshit which calls itself innovative. This is not just my opinion – I am sure that fans of Azaghal, Horna or Satanic Warmaster will agree. They just need to find the Flame Within Flame.

Rating: 8.9 out of 10